candybox | OPEN POST: Claude von Riegan - Fire Emblem: Three Houses

[True to his word, Glenn can easily be found - nearby but mostly out of direct line of sight. Not like he's hiding, but it's easy enough to learn how to not draw unwanted attention.

[No matter the place, alcohol has a distinct scent, and is comforting in its familiarity.

[Wherever Claude happens to be, Glenn's there waiting just a bit beyond, and outside, sketchpad in one black-gloved hand and a stick of graphite in the other. His gaze is rooted, for the moment, on a cluster of flowers, sketching away, while he's crouched in the dirt with his knees somewhat close to his chest.

[Until he senses the scent of alcohol has gotten stronger, and he looks up. It's good that they've met in person at least once before; however fleeting. Glenn's able to recognize him by face the moment he steps out.]

Had enough of your post-test festivities, for the moment?

[Claude's not usually given to drinking much, or at all, both because he likes to keeps his wits about him, and because he has no desire to get on the wrong side of the professors or the Church. Well, more than he already gets on their bad sides just by being him, anyway. Even so, Balthus managed to rope him into hanging out in Abyss for a while, and one thing lead to another...

...Which is how Claude reemerged, walking only slightly off-balance and a little flushed from the alcohol when he spots a certain someone sketching outside.]

For the moment. What are you up to? [He's leaning to peek at his drawing.]

Sure. I'm drawing that flower over there. Here, go ahead and look as you like.

[Meeting him halfway, Glenn just offers Claude the entire sketchbook. There is, in fact, a flower on the page, made to look unusually large compared to the surrounding grass, as if looking at the flower from the dirt and upward.

[There are more drawings, too, if Claude feels like flipping through the pages. Of mostly people and insects up close in intimate detail. There's also a rough portrait of Claude himself, drawn from memory.]

Thanks. [Claude's not an art enthusiast by any means, but he is nosy, so of course he's eager to just be given the whole sketchbook. He flips through it with an intrigued expression.]

I don't know much about art, but I really feel like you can get an insight into someone's perspective on the world from looking at something they've created. [He turns the page again, and... Oh!] Hey, there's me! Looking as roguishly handsome as always, I must say.

And you're someone with such trained eyes, or know someone who does? Impressive.

[He offers a bit of a smile, genuinely -- somewhere between a soft happiness and amusement.]

You have a pleasing appearance; and I feel like it's easier to... what is the term...?

[He chews his lip, brow furrowing a little as he thinks.]

I struggle to look people in the eye comfortably, but it's easier if I'm just drawing someone's eye. Or if they're not looking at me to begin with.

[He'll give Claude that much, at least. It's not like it tells every little detail as to why he is the way he is.]

...If you want the portrait when I'm finished, that's fine.

Hmm... Isn't it a little difficult to draw someone if you can't bear to look at them directly, though? They say eyes are like a window to the soul. You can't peer in if you don't look to begin with.

[Well, those are just his thoughts, anyway. It's more a general observation than artistic critique.

Now he's done looking, he hands back the sketchbook.]

Why don't you keep it? Then you can gaze deep into my eyes whenever you like. [He smiles, teasing.]

Eh...

[Immediately, his gaze burns, but he accepts the sketchbook back, leather-clad fingertips sliding against the edges.]

I can look... off-center. Slightly above, beside, or over the shoulder. I can see in my peripheral vision, but... no, it's not that difficult. It's the eye contact that's hard. When someone looks at you directly, it's hard not to look back at them. But for me, if I look back... it's too much for me.

But people have lots of varied body language. Of visual tics. A shrug and a tilt of the head can say much, given the proper context. I look at those variables to compensate.

[His touch slides back and forth against the sketchbook as he processes his thoughts, and more of Claude's expression.

[...Oh.]

I thought you were serious for a moment. But don't worry. I don't need a portrait to see the look of your eyes. It just makes it easier to process their shape and the lighting over time. I've been drawing since I was little, though more seriously in recent years.

I was totally serious. [...He says that, but that makes it even less clear whether he was serious.] Interesting. It sounds like you've really put a lot of thought into it.

Hmm... How about I pose for you sometime? I'd hate to sit for some stuffy noble portrait to display in House Riegan, but for you, I can make an exception. What do you think?

[Maybe having his subject in front of him instead of having to paint from passing observation would help.]

Well, I process my surroundings differently than others, so modifications needed to be made for my sanity.

[He flashes a faint smile, but then his expression brightens like an excited child's at the offer. Even as his voice remains steady, and doesn't quite betray his actual excitement.]

If you would like. Though you don't have to sit perfectly still. If I do that, you only need to remain still long enough for me to get the pose and posture down.

[He's not sure why Claude is offering, but it's a lovely thing, and he's not about to turn it down.]

Hmm... Okay then. If I can move, how about I bring a book or two? That way I can keep busy while you do the rest.

[He doesn't necessarily want the painting to be of him reading, but it would stop him from getting bored.]

Do as you like. It won't bother me.

Wildlife often doesn't stay perfectly still, either. Why should a person do the same just for an image?

[His as he smiles, his gaze crinkles gently.]

Do you actually want it to be a stuffy portrait? Or would you rather it be something closer to the real you? I can do either. Or a mixture of both.

What do you think I am, some kind of feral creature? [He laughs, although he's not actually offended. He knows that's not what Glenn meant.]

I'd prefer the real me. But you're the artist, so follow whatever your artistic vision is telling you to do. Maybe in your vision, you really do see me as stuffy!

[Glenn opens his mouth to make sure he's understood, but takes a moment to really take in Claude's expression. In the very, very brief few seconds he makes himself check the other's gaze as well, Claude's own eyes look back at him, as if from a mirror. Though perhaps it could be chalked up to a trick of the light.

[He shakes his head.]

No, you're not stuffy.

...All I'll need of you is to bring the clothes you want to be depicted wearing, if anything. Or show me references of it. And then a change of clothes for something more comfortable after.

[A playful little smirk crosses his face.]

And yourself, of course. Without you, it would just be a portrait of the invisible man. Or maybe a dog head on a human body. Deer head?

[Maybe he should draw that later... Either way, that gets a soft laugh out of him, too, tickled by the mental image, as well as his honest attempt at a joke.]

[Claude's eyes are inscrutable as always, besides that faint gleam of mischief that ways seems to linger there. Still, he holds his gaze for as long as Glenn will allow it, rare as the moment is.]

Clothes... Maybe a gallant suit of armour? Think I would look dashing?

[That's really not his style, but he can imagine plenty here would clamour to be painted as some noble, gallant knight.]

I'll give that part some thought. [Then he throws up his hand in affront.] No deer heads, please!

[He just laughs again - a soft, brief thing - and nods.]

Right, no animal heads. I was only joking, anyway.

A suit of armor it is, if you'd prefer it that way. As a note... I mostly work with black and white, but I can make it with color by diluting and mixing inks.

Anyway, you'll see when we get started. Is there a time that works best for you? I struggle to be awake in the early hours, but if that works for you, I'll make it work for me.

No, no, the suit of armour thing was just a joke. Definitely more Dimitri or Edelgard's style than mine. I'll think about it, okay?

[He scratches the back of his neck, thinking.]

I'm an early bird myself, but there's no need to rush. If it's better to start at noon, we can do that.

Noon would be better, yes. I apologize for the inconvenience.

[He cracks a bit of a shy smile, shoulders shifting as if he might shrug. Instead, he ducks his head slightly, briefly.]

I look forward to getting started all the same. I may take the rest of today to practice a little... Ah, but then I might... maybe I shouldn't...

[Cheeks slightly flushed, he clears his throat.]

I tend to.. forget that time exists when I get really absorbed in my work, so. I'll want you to pester me if you need a break. Especially since I'll be looking at you a lot in order to get things looking right.

Hmm... [Claude thinks for a second, and is suddenly struck with an idea.]

How about we agree to a tea break halfway through? That way we can both relax, stretch our legs, and come back refreshed. And that way you can still look at me some more, if you really need the extra inspiration. [He winks.]

Sounds good to me.

[The wink - is that flirting? Is he being flirted with? Or is that just teasing? It's probably safer to assume it's the latter. That seems right.]

I prefer to only drink water, but you're welcome to the tea.

[It's not precisely a lie, but it's better than the truth right now. He's not sure what would happen if the truth of his condition came out.]

Really? [He seems surprised; it's rare to find anyone around here who doesn't enjoy tea. Then he shrugs.] Suit yourself.

Where do you want to paint me? I'll meet you there at noon.

[Part of Glenn thinks "tell him!" but no. If he speaks up on it, and gets shunned for it, well. That'd be understandable. But he'd rather not...]

It's really up to you, but, I think... somewhere one might feel like they're closer to the sun? I can get some dynamic lighting that way, and then adjust my colors so it doesn't wash out any colors.

Hmm, unless you'd rather be somewhere closer to trees? The light that filters through the leaves can make for a more peaceful feeling...

[His expression brightens.]

Either way, the sun can also be viewed as a power symbol in some art. There are few aspects of nature that are stronger than what brings light, life, and warmth to an entire world every day.

Of course, I'll start with some composition sketches, and show them to you to see what you'd prefer. Especially if you're planning on having it be housed anywhere important to you.

Trees and the sun sound good to me. Do you know the road that leads from the monastery into the forest? Let's meet there, and then we can pick a spot that inspires you the most.

[Claude has some of his own suggestions in mind, if Glenn's short on ideas, but he figures the artist should be guided by their own intuition before a novice like him has any input.]

OPEN POST: Claude von Riegan - Fire Emblem: Three Houses

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